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My Wonderful World of Slapstick
THE THIS BOOK IS THE PROPERTY OF Georgia State Bo»r* of Education AN. PR,CLAun\;v eSupt of School* 150576 DECATUR -DeKALB LIBRARY REGIONAI SERVICE ROCKDALE COUNTY NEWTON COUNTY Digitized by the Internet Archive in 2012 with funding from Media History Digital Library http://archive.org/details/mywonderfulworldOObust MY WONDERFUL WORLD OF SLAPSTICK MY WO/VDERFUL WORLD OF SLAPSTICK BUSTER KEATON WITH CHARLES SAMUELS 150576 DOVBLEW& COMPANY, lNC.,<k*D£H C(TYt HlW Yo*K DECATUR - DeKALB LIBRARY REGiOMA! $&KZ ROCKDALE COUNTY NEWTON COUNTY Library of Congress Catalog Card Number 60-5934 Copyright © i960 by Buster Keaton and Charles Samuels All Rights Reserved Printed in the United States of America First Edition J 6>o For Eleanor 1. THE THREE KEATONS 9 2. I BECOME A SOCIAL ISSUE 29 3. THE KEATONS INVADE ENGLAND 49 4. BACK HOME AGAIN IN GOD'S COUNTRY 65 5. ONE WAY TO GET INTO THE MOVIES 85 6. WHEN THE WORLD WAS OURS 107 7. BOFFOS BY MAN AND BEAST 123 8. THE DAY THE LAUGHTER STOPPED 145 9. MARRIAGE AND PROSPERITY SNEAK UP ON ME 163 10. MY $300,000 HOME AND SOME OTHER SEMI-TRIUMPHS 179 11. THE WORST MISTAKE OF MY LIFE 199 12. THE TALKIE REVOLUTION 217 13. THE CHAPTER I HATE TO WRITE 233 14. A PRATFALL CAN BE A BEAUTIFUL THING 249 15. ALL'S WELL THAT ENDS WELL 267 THE THREE KeAtOnS Down through the years my face has been called a sour puss, a dead pan, a frozen face, The Great Stone Face, and, believe it or not, "a tragic mask." On the other hand that kindly critic, the late James Agee, described my face as ranking "almost with Lin- coln's as an early American archetype, it was haunting, handsome, almost beautiful." I cant imagine what the great rail splitter's reaction would have been to this, though I sure was pleased. -
Network Time-Shift-Blog
Michael Biel [email protected] Time Shifting by the Networks The following posts by Elizabeth McLeod, a broadcast journalist and a free-lance broadcast historian specializing in the late 1920s and early 1930s, are reproduced with her permission. Date: Sun, 29 Mar 98 22:23:55 -0500 From: Elizabeth McLeod ([email protected]) Subject: Re: By Means of Electrical Transcription... I'm confused about when the practice of pre-recording (transcribing) radio shows began. I recall reading that the Bing Crosby show was the first transcribed network show (and I seem to recall a Crosby show in which guest star Grade Alien says "this isn 't radio, it's a transcription "), but I also seem to recall that Amos and Andy were distributed on disk. My confusion was added to when I read the little book that comes with the first Smithsonian set of Superman episodes (great set, btw) since there is a reference to prerecording the shows, but I know that The Lone Ranger and such were sometimes performed more than once for different time zones. What's confusing you is the difference between network shows and syndicated shows. "Amos 'n' Andy," when it began in 1928 was distributed by syndication by the Chicago Daily News on 78rpm records -- the first radio program to be pre-recorded in such a manner. This continued thru mid-August of 1929, and ended when the program went to NEC. Many syndicated shows followed in the late 20s and early 30s, including comedies, dramas, serials, and musical features. These were shows produced by independent packagers and sold to stations without the need for wire-line connections. -
NBC Transmitter.
m NATIONAL EfiOADCASTINQ COMPANY, general library 30 ROCKEFELLER PLAZA, NEW YORK, N. 1 >:.-s Vr-. iS- ’ NBC VOL. 6 JANUARY, 1940 No. 1 LATEST PROGRESS IN TELEVISION NEW YEAR SftS MANY TRAINING FCC VIEWS NEW PORTABLE UNIT GROUPS HELD FOR YOUNGER MEN elevision de- S the New Year ajrproaches and gets underway, it finds T velops so rapid- AI the largest number yet of employe training courses ly that it is always in action. This is a result of the Company’s policy of filling outmoding its own vacancies from its own ranks. It has been said more and news. This month more often in the past few years that the Company is old there are several enough to prepare its personnel to fill the responsible posi- items for the record. tions created or opened as time goes on, and this year a We are all familiar more comprehensve effort than ever is being made in that with the ten-ton, direction. two-truck mobile Ashton Dunn of Personnel has already organized a group unit which has so for the purpose of learning the structure and activities of successfully picked various departments. It is similar to last year’s group which up such nemos as was developed to satisfy the expressed interest of the younger Evolution of an Idea. boxing and tennis employes. Some of the more specialized courses recently matches, and base- planned or begun are working in connection with the larger ball and football games. This sleek monster is the incredi- group to fill out the general training program. -
Brother, Can You Spare a Dime? American Song During the Great Depression
Brother, Can You Spare a Dime? American Song During The Great Depression American society was much less homogeneous during the Great Depression (1929–1941) than it became after World War II. There were still quite sharply defined classes, divided along economic, geographic, and ethnic lines. There were the literate, largely urban whites of the East, North, and pockets in the rest of the country; there were the rural whites of the South, Midwest, and Southwest, mostly of English, Irish, and Scottish descent; there were the blacks of both urban and rural areas. Each group was affected by the Depression, but in different ways and to different degrees. Each had its own tradition of popular song, and a sampling of these from the thirties can give a vivid picture of how each fared and how it reacted to the almost universal adversity of that decade. The financial boom of the decade following the end of World War I can be seen in retrospect as too speculative, based on credit and on paper assets. It was also decidedly top-heavy: sixty thousand families controlled assets totaling those of the twenty-five million families at the bottom of the economic ladder; seventy-eight percent of America’s families had a yearly income of less than three thousand dollars. The Roaring Twenties roared for only a fraction of Americans; even at the peak of the apparent prosperity of the decade, genuine poverty was a hard fact of life for many millions. Within a year of the overwhelming election victory in 1928 of Herbert E. -
Winter Garden Theater, First Floor Interior
Landmarks Preservation Commission January 5, 1988; Designation List 199 LP-1387 WINTER GARDEN THEATER, first floor interior consisting of the inner lobby, the auditorium, the stage; the balcony floor interior consisting of the balcony, the upper part of the auditorium and ceiling; and the fixtures and interior components of these spaces, including but not limited to, wall and ceiling surfaces, doors, stair railings and attached decorative elements; 1634-1646 Broadway, Manhattan; initial structure built c. 1885 and rebuilt 1896; remodeled and partially rebuilt for theater use 1910-11, architect W. Albert Swasey; remodeled 1922-23, architect Herbert J. Krapp. Landmark Site: Borough of Manhattan Tax Map Block 1022, Lot 26. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as an Interior Landmark of the Winter Garden Theater, first floor interior consisting of the outer lobby, the inner lobby, the auditorium, the stage, the staircases leading from the first floor to the ba 1 cony floor and all connecting entrance areas; the ba 1 cony floor interior consisting of the balcony, the upper part of the auditorium and ceiling, the upper part of the stage house; and the fixtures and interior components of these spaces, including but not limited to, wall, ceiling, and floor surfaces, doors, stair railings and attached decorative elements; and the proposed designation of the related Landmark Site (I tern No. 83). The hearing was continued to October 19, 198 2. Both hearings had been duly advertised in accordance with the provisions of law. Eighty-one witne sses spoke or had statements read into the record in favor of designation. -
Bensman, Marvin R.; Walker, Dennis Sources of Broadcast Audio
DOCUMENT RESUME ED 109 724 CS 5,01 094 AUTHOR Bensman, Marvin R.; Walker, Dennis TITLE Sources of Broadcast Audio Programming. PUB DATE 75 NOTE 332p. EDRS PRICE MF-$0.76 HC-$17.13 PLUS POSTAGE DESCRIPTORS *Broadcast Industry; Instructional Materials; *Phonograph Records; *gadio; Resource Materials IDENTIFIERS *DiscographieS _ABSTRACT This publication'is the result of a search conducted for sources of,recordings of old radio programs. Section 1 consists of an annotated list of broadcast programs available on commercial phonograph records. Section 2 consists of an annotated listing of associations concerned with the preservation of recorded broadcast material, organizations which sell programs, newsletters and publications by individuals who collect and trade old radio prograts, and institutions which ha *e collections which are available to some degree for research and teaching purposes. Section 3 is a computerized- catalog of over 100 private collections which was devised to locate specific programs as well as to give some idea of the depth of the material available from such sources. (TS) ****************************************************4i***************** Documents acquired by ERIC Include manyinformal unpublished * materials not available from other sources. ERIC wakes everyeffort * * to obtain the best copy available. nevertheless, items ofmarginal * * reproducibility are often encountered and this affects thequality * * of the microfiche and hardcopy reproductions ERIC makesavailable * * via the ERIC Document Reproduction Service -
The Recording Musician and Union Power: a Case Study of the American Federation of Musicians
SMU Law Review Volume 37 Issue 4 Article 1 1983 The Recording Musician and Union Power: A Case Study of the American Federation of Musicians Robert A. Gorman Follow this and additional works at: https://scholar.smu.edu/smulr Recommended Citation Robert A. Gorman, The Recording Musician and Union Power: A Case Study of the American Federation of Musicians, 37 SW L.J. 697 (1983) https://scholar.smu.edu/smulr/vol37/iss4/1 This Article is brought to you for free and open access by the Law Journals at SMU Scholar. It has been accepted for inclusion in SMU Law Review by an authorized administrator of SMU Scholar. For more information, please visit http://digitalrepository.smu.edu. THE RECORDING MUSICIAN AND UNION POWER: A CASE STUDY OF THE AMERICAN FEDERATION OF MUSICIANS by Robert A. Gorman * CONTENTS Page I. THE RISE OF RECORDED MUSIC AND OF JAMES C. PETRILLO .................................................. 699 II. THE 1942 RECORDING BAN AND THE CREATION OF THE RECORDING AND TRANSCRIPTION FUND ................... 705 III. UNION ATTEMPTS TO INCREASE RADIO EMPLOYMENT, AND THE LEA A CT .............................................. 709 IV. THE TAFT-HARTLEY ACT, THE RECORDING BAN OF 1948, AND THE CREATION OF THE MUSIC PERFORMANCE TRUST F UN D S ..................................................... 722 V. THE STATE OF THE ENTERTAINMENT INDUSTRIES, 1945- 1955 ....................................................... 728 VI. THE TRUST FUNDS IN 1954-1955, AND THE APPEAL OF L OCAL 47 .................................................. 734 VII. THE REVOLT WITHIN LOCAL 47 ........................... 741 VIII. THE TRUST FUND HEARINGS OF 1956 ..................... 749 * A.B., LL.B., Harvard University. Professor of Law, University of Pennsylvania. This Article is a revised and updated version of a study prepared at the request of the Copyright Office and published in a volume of hearings on performers' rights. -
ARSC Journal
Pre-LP Recordings of RCA at 33 1/3 rpm. through 1931 to 1934 by Ted Fagan Once it had been proved that sound could be reproduced, the next steps entailed improvement of quality, expansion of versatility and increase in the amount of material that could be fitted on the discs or cylinders. Many experiments were made with different playing heads and needles, bigger discs and cylinders, narrower grooves and, finally, slower speeds. This is not the place to enter a study of the differences between the materials used for diaphragms on the playing heads, nor for the manufacture of needles, except for a passing mention of this later. Sizes of the records themselves went from 5 inches to 18 and groove widths varied from 150 per inch to 450. By 1930 the engineers had discovered that a recording speed of 33 1/3 revolutions per minute could be controlled, relied upon and to a large extent, avoided the distortion that usually spoiled the sound when the grooves get closer to the central spindle. In 1931, the company issued brochures and catalogues that announced the advent of a new technique which permitted recordings at this slower speed. One of these catalogues is quoted extensively in Oliver Read and Walter Welch's book From Tin-foil to Stereo (pp. 292 et seq). The crucial portion of the announcement reads: " ••• now the Long Playing Record takes its place in the Victor Catalogue. A policy of recording all major works on both standard and 33 1/3 rpm. records has been adopted. The playing time has been fixed at such length that no sacrifice of musical quality - inevitable if the grooves are carried too near the center of the record - need be made ••• " Commercially, however, the slower playing records were not a great success. -
Transcription Records
TRANSCRIPTION RECORDS located in Center for Danish Jazz History, Aalborg Universitet This catalogue has been compiled by Niels Sjølin Frederiksen for the jazzcentre between and 2010 and 2015. The records were originally part of the Jazz Medie Collection from Karl Emil Knudsen, Storyville Records, Copenhagen which CDJ took over in 2008. This catalogue is organized after publishing companies , listed in alphabetical order. 1955 MARCH OF DIMES AN ALL STAR RADIO PROGRAM NATIONAL FOUNDATION FOR INFANTILE PARALYSIS, INC. 120 BROADWAY, NEW YORK 5, N. Y. *PLEASE DESTROY TRANSCRIPTION AFTER CAMPAIGN* BROADCAST BETWEEN JAN. 3-31 ONLY – HOWARD J. LONDON, Radio Director Code No. Artist E4-KM-8761 Nat “King” Cole and Orchestra under the direction of Nelson Riddle E4-KM-8762 Liberace, Orchestra under the direction of George Liberace ♥ 1957 HEART FUND February 1-28 AMERICAN HEART ASSOCIATION Transcription rights granted by James E. Petrillo, President AFM Recorded by Gotham Recording Corp. Program “Calling All Hearts” starring ET-II Program Three Gordon MacRae and Shirley Jones GRC-4288A ET-II Program Four Jimmy Durante and Helen Traubel GRC-4288B WAR DEPARTMENT THE ARMED FORCES RADIO SERVICE Presents SERIES ALBUM No. Artists #102 OFFICE OF ARMED FORCES INFORMATION & EDUCATION DEPARTMENT OF DEFENSE Armed Forces Radio & Television Service PROPERTY OF UNITED STATES GOVERNMENT Micro-Groove - Play with .001 pickup stylus Disc Series Artists C-57-END-476 STATION LIBRARY (Track#1) Stars of Jazz, Christmas Eve Program (handwriting on sleeve: Bobby C-57-END-317 Troup, Chico Hamilton, Georgia Carr)//TX #1 Portraits in Music Pt. 2, (Track #2) TX #2 Eddie Fisher (Christmas Day Program) (handwriting on 10-11-57 = Oct. -
Guide to the Duncan P. Schiedt Photograph Collection
Guide to the Duncan P. Schiedt Photograph Collection NMAH.AC.1323 Vanessa Broussard Simmons, Franklin A. Robinson Jr., and Craig A. Orr. Processing and encoding funded by a grant from the Council on Library and Information Resources. 2016 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical / Historical.................................................................................................... 2 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Background Information and Research Materials, 1915-2012, undated..................................................................................................................... 4 Series 2: Photographic Materials, 1900-2012, -
Radio Daily 370415.Pdf
~ Serving the Better Interests of Commercial VOL. 1, NO. 47 NEW YORK, N. Y., THURSDAY, APRIL 15, 1937 FIVE CENTS Tax Bill Ready In• Week IDotting On 40 RADIO ACTS SET I Conferring With Treasury Department I.: ~ ... AND LISTENING IN fOR CLEVELAND EXPO Experts Before Filing Wattage With the Cleveland Great Lakes Levy Measure in House SUMMER BIZ Considerable d a t a Exposition scheduled to reopen for ' ~----__.......... ...................................~ has been compiled by another season May 29, radio talent By PRESCOTT DENNETT networks. s tat ion s and advertising is rapidly being booked for its en Capitulate RADIO DAI LY Staff Correspolldc1It agencies to show thar summer is iust as tire run. As was the case last year, St. Louis - Three leading St. Washington - Conferences h a v e good as winter in point of radio audience whole radio shows will be imported Louis departmenr stores. which up been scheduled with Treasury De size and aggregate public spending. to guest at the exposition for short to now have kept entirely away partment experts to discuss the Distribution of the population may un· bookings. To date, a pproximately from radio advertising. are tied broadcasting station tax proposal drafted by F CC Commissioner George dergo a little temporary shift. but where 40 acts a re set, th ough not all sch ed in with a new weekly series of the folks go. the radio goes too. in the car. Henry Payne for Congressman John uled for sp ecific da tes. The Fireside programs starting April 20 over on the highway and in the cottage by J. -
In the End... All You Really Have Is Memories
I THE NEW YORK SUN, TUESDAY, MAY 23, 1933. Broadway After Dark Picture Plays and Players The New Talkie Th/ee Revivals and a Revue Next Week— James Dunn and Sally Eilers to Co-Star for . 'J Mist Thelma Todd at Both Blondes ill 'Ghosts' Tonight—Random Dramatics. the Sixth Time in 'Sally and Jimmy.' 9 i 'Cheating Blondes. j By WARD MOREHOUSE. ' By EILEEN CREELMAN. By JOHN S. COHEN Jr. Four productions—possibly five—will come to Broadway The popular co-starring team of Janet Gaynor and The new talkie at the old Roxy is called "Cheating playhouses next week. They include the Players Club Charles Farrell has apparently broken up for good in Blondes," the blondes in the case being Miss Thelma Todd revival of "Uncle Tom's Cabin," the Frank Fay-Barbara spite of protesting fans. Fox has planned often enough in a dual role of twin sisters. As far as I could tell, Stanwyck revue and an exhumation of Edward Locke's to separate James Dunn and Sally Eilers too. Each time neither one of the two went in for cheating as it is popu four-character piece "The Climax," first done on this an announcement of this brings in enough letters to make larly known. Instead, Miss Todd, as both of them, seemed island a quarter of a century ago. The line-up for the studio heads reconsider. "Bad Girl" made stars of young to be bent on overplaying or underplaying—in the wrong new week runs like this: .- Mr. Dunn, then an unknown, and of Miss Eilers who, places—and on being generally uninteresting in a role in MonJav May 29.-"Uncle Tom's cle-play, a Continental product, although she had made plenty of films, was far from Cabi!.,'1 »t the Alvin; "The Pirates calls for a tremendous cast and an which she had an opportunity to be at least twice as good •f Penzance," at the St.